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Model Cars - Road Champs All American Tourist City Police Cars, 1/43 scale, boxed; others, Police Series Chevrolet Utah Highway Patrol, boxed; Trent State Capital, boxed; New Mexico State Police, boxed; Maisto harley-Davidson Motor Cycles, boxed; Solido 4168 CadillacPolice 1931, boxed; other model cars, all boxed; qty

By Cyril James Frost, a silver candlestick, London 1945, the urn shaped capital on a double scroll stem, on a raised circular base, height 10cm, approx. weight 4.7oz.

Simla, Indian interestEighteen pen and ink sketches of Simlac.1836/1837, each titled in pen and ink and pencil, including:General Ramsay's House Simla from Sir Ed. Barnes estate; The Snowy Range ..., Sketch of a Pine Tree in The Valley of the Waterfall near Simla;Public Bungalow at Nagkundab;Women of the Himalayan Mountains23 x 19.5cm (18)Simla, or Shimla, is the capital and largest city of the Indian state of Himachel Pradesh. In 1864 it was declared the summer capital of British India. The area was dense rainforest during the 18th century with only one temple and scattered houses.By 1826 British officers were spending entire summers in Simla and in 1830 the British acquired the surrounding land from the chiefs of Keonthal. The settlement grew rapidly from 30 houses in 1830 to 1,141 in 1881.The sketches in this album are dated 1836 and 1837 and are thus some of the earliest European recordings of the area, executed when there were few dwellings and thus provide a valuable historical record.

A GEORGE II CAST TAPERSTICK on a shaped square base with shell decoration, a knopped column and a spool-shaped capital by John Quantock*, London 1753; 5.25" (13.2 cms) high; 4.8 oz *John Quantock, of Kingsbury, Somerset was apprenticed to James Gould & like his master, he was a specialist candlestick maker.

AN EARLY 19TH CENTURY CENTRAL AMERICAN, SPANISH COLONIAL, SILVERGILT TRAY of shaped rectangular outline with embossed, fluted scrollwork around the border with flat-chased leafy scrolls and animals at intervals around the rim; a rabbit, two hounds, a boar, a hare & a deer, the shaped and recessed centre section also flat-chased with a large formal reserve or cartouche of leafy scroll with either a satyr or a wading bird in each corner and an armed horseman in the centre with his sword at the ready, engraved at the top with an Earl's coat of arms**, and the motto "NEC CUPIAS NEC METUAS", no maker's mark, struck twice with the "crown" mark, for the Captaincy General of Guatemala as the country was known as under Spanish rule, and struck once with the crossed swords mark for the city of Leon (now in present day Nicaragua), 1800-1820; 20.5" (52.3 cms) long; 46.7 oz *A very similar piece, very likely by the same maker has been noted with the maker's mark "AB", listed in Santiago de Guatemala, the name given to the capital city of the General Captaincy of Guatemala under Spanish rule 1540-1821 **The arms are those of Yorke, Earls of Hardwicke. The most likely candidate is Admiral Charles Philip Yorke, 4th Earl of Hardwicke, PC (2 April 1799-17 September 1873), a British Naval Commander and Conservative politician, who inherited the Earldom from his cousin in 1834.

The Beatles Yesterday And Today picture disc by Capital Records (Chicago Beatles Souvenirs Record Commemorating the 4th Annual Beatles Convention, sold only on the following dates August 8th and 9th 1980)

Ptolomaeus (Claudius) Cosmographia, first edition, collation: aa10, bb8-1, a10, b-g8, h10, A-F8, G10. 142 of [143] leaves, lacking fol. aa1 blank. text in single column, 39 lines, type: 102R, finely hand-painted initials alternately in red or blue, that on aa8 verso with extension, seven-line blank space on aa1 recto, rubricated in red and blue, capital letters touched with yellow, 4 woodcut diagrams, two small wormholes to blank outer margin of first leaf repaired, without any loss, occasional light foxing, front and rear flyleaves both reinforced at an early date with a fragment from a manuscript, pencilled bibliographical notes on rear pastedown, contemporary wooden boards, one (of two) original oyster clasps preserved, spine covered in calf, with three raised bands, a few wormholes to covers, loss to top corner of upper cover, head and foot of joints slightly worn, preserved in suede-lined black morocco drop-back box by Boichot, folio (304 x 205mm.), Vicenza, Hermann Liechtenstein, 13 September 1475.⁂ An exceptional, and unsophisticated copy, with wide margins of the first edition of the most celebrated geographical treatise of classical antiquity. An edition of the greatest rarity, and a monumental achievement of geographical knowledge and a cornerstone of the European tradition. The Latin Ptolemy of 1475 was issued from the printing house established in Vicenza by the German printer Hermann Liechtenstein, also known by his surname 'Leuilapis'. A native of Cologne, he began his career as a printer in Vicenza, publishing the undated Historiae by Orosius in 1475, as well as the first edition of Ptolemy, completed on 13 September. Ptolemy's Geographia is one of the first books ever printed in Vicenza, where printing was first introduced in the spring of 1474 by Leonardus Achates de Basilea. The present work, divided into eight books, was produced by Ptolemy in the second century AD and describes the known inhabited world (or oikoumene), divided into three continents: Europe, Libye (or Africa), and Asia. Book i provides details for drawing a world map with two different projections (one with linear and the other with curved meridians), while Books ii-vii list the longitude and latitude of some 8,000 locations, Book vii concludes with instructions for a perspectival representation of a globe. In Book viii Ptolemy breaks down the world map into twenty-six smaller areas and provides useful descriptions for cartographers. The work was brought to Italy from Constantinople around 1400, and its translation into Latin was made by Jacopo Angeli (or Angelo da Scarperia) in Florence between 1406 and 1409. He was a pupil of Manuel Chrysoloras (ca. 1350-1415), the exiled Byzanthine scholar who had possibly begun the translation himself, on the basis of a hitherto unidentified Greek manuscript. Angelo's translation is mainly based on a composite text deriving from two different manuscripts. This volume was edited by Angelus Vadius and Barnabas Picardus and contains only the text of Ptolemy's Geographia. No maps were issued in this first edition of 1475, which were probably not present in the manuscript which served as copy-text, and the only illustrations included are the three diagrams in chapter xxiv of Book i (fols. bb5v, bb6v, and bb7v), showing the 'modus designandi in tabula plana', and that on fol. F3, depicting the Polus antarcticus. The first illustrated edition of Ptolemy appeared in Bologna in 1477, under the title of Cosmographia and supplemented with copperplates drawn and engraved by the famous illuminator Taddeo Crivelli. The Latin edition of this landmark geographical text enjoyed wide and enduring popularity. The editio princeps in Greek appeared in Basel only in 1533, and the circulation of the Latin text throughout Europe in the fifteenth century greatly influenced (both directly and indirectly) the shaping of the modern world. As Angeli writes at the end of his dedication: "Now, I repeat now, let us listen to Ptolemy himself speaking in Latin". Literature: HC 13536*; GW M36388; BMC vii, 1035; IGI 8180; Goff P-108; Flodr Ptolomaeus, 1; Sander 5973.Provenance: French bookseller's typed description to front pastedown.

Lucian of Samosata. Dialogoi, editio princeps, collation: Α-Β8, α-ω8, αα-ηη8, 262 (of 264 leaves, lacking the first and last blanks), Greek text in single column, 41-44 lines, type: 5:IIIGk, blank spaces for capitals, with no guide letters, opening page framed in a fine and lavishly illuminated full-border, with small flowers, acanthus leaves, fruits, birds, and gold-rayed discs, at the top two cornucopias, lower panel containing a large cartouche including a blue lion coat-of-arms, flanked by the gold initials 'io' and perhaps 'm' (smudged), right panel exquisitely painted, depicting a scholar, presumably Lucianus himself, with long curly hair, sitting and reading a book, same leaf with ten-line gold initial 'A' with interlaced branches on black ground, and a portion of a portico supported by a cherub, a very good copy with wide margins, water-staining to front endpapers thus affecting lower panel of illumination on first leaf, a few early ink stains, foxing and browning in places, light water-stain to lower blank margins of final quires, a few minor stains to gutter of two final leaves, early inked foliation and marginalia in Greek and Latin in the same hand, front pastedown with early inked shelfmark 'A. 58.', and an erased, illegible annotation, 17th-century limp vellum, spine with five raised bands underlined by gilt fillets, compartments decorated with floral tool, title in gilt on red lettering-piece, small tear to vellum on upper cover fore-edge and another on lower joint, tailband loose, folio (330 x 235mm.), Florence, Lorenzo de Alopa, 1496.⁂ A magnificent example of a Florentine incunable embellished with a high-quality illumination: the rare editio princeps of Lucianus' Dialogues edited by Ianos Laskaris - a masterpiece of early Greek typography. This is one of the three dated editions published by Lorenzo de Alopa, the first Florentine printer to produce books in Greek, the others being the Anthologia Graeca of 1494 and the Argonautica of Apollonius Rhodius, which appeared in 1496. The text of Lucianus was set in the third Greek type cut for Alopa, a lower-case with accents and breathings, used also for the commentary surrounding Apollonius' Argonautica. The opening leaf of this sumptuous copy bears artwork executed by an artist of considerable skill. The decorative pattern of the border, the particular palette of colours and tones, the illusionistic three-dimensional composition, the hair- and beard-style of the figure reading a book in the right-hand panel - almost certainly a depiction of Lucian himself - have many similarities to illuminations attributed to the miniaturist known as 'Petrus V', possibly originating from Lombardy. This artist was also active in Padua and Venice in the 1470s in the production of illuminated incunables, creating masterful illustrations for a distinguished clientele, as demonstrated by the magnificent copy of the Breviarium Romanum printed in 1478 by Nicolaus Jenson (Glasgow University Library, B.f.1.18). From Veneto he moved to Rome, where he worked in the 1480s and 1490s, receiving several commissions from prestigious patrons to illuminate printed books. A refined work for a refined patron: the smudged coat-of-arms included in the border is similar to that of the famous and wealthy Sforza family, while the capital letters painted in gold may be read as 'io' and 'm', suggesting the possible identity of the first owner of the present copy: Giovanni Maria Sforza (d. ca. 1520), the son of Francesco, Duke of Milan. As a Protonotary Apostolic he was a member of the Roman curia, and in 1498 was appointed Archbishop of Genoa. The Elmer Belt Library of the University of California at Los Angeles preserves a single leaf from Book ii of the Nicolaus Jenson edition of Pliny the Elder's Historia naturalis of 1476, whose border and first initial were possibly illuminated for Gian Galeazzo Sforza (1469-1494). In this leaf the inscription, only partially legible, 'opvs petri v m' supports "the Lombard origins of this intriguing artist. The letters of Petrus' surname suggest Vimercate, the name of a town midway between Milan and Bergamo, earlier the patria of another illuminator, Guinifortus de Vicomercato" (The Painted Page, p. 178).Literature: HC (+Add) 10258*; GW M18976; BMC vi, 667; IGI 5834; Goff L-320; Rhodes Firenze, 416; Flodr Lucianus, 1; Hoffmann iii, pp. 29-30; Legrand i, 19; Staikos, Charta, pp. 277-278; J. J. G. Alexander (ed.), The Painted Page. Italian Renaissance Book Illumination, London-New York 1995, pp. 178-180 (catalogue entries nos. 86-88 by L. Armstrong); M. Conway, The Early Career of Lorenzo Alopa, La Bibliofilia, 102 (2000), pp. 1-10; L. Armstrong, Opus Petri: Renaissance Book Illuminations from Venice and Rome, Eadem, Studies of Renaissance Miniaturists in Venice, London 2003, 1, pp. 339-405.

London.- Anonymous. Londres, Ville Capital du Royaume d'Angleterre, an uncommon variant of Pierre Aveline's "pre-fire" prospect view of London, showing the city from the south side of the Thames, with St Paul's illustrated with Wren's dome, engraving with original hand-colouring, on laid paper with armorial watermark and countermark, probably early 18th century, sheet 345 x 515 mm (13 1/2 x 20 1/4 in), old drying fold running vertically down the centre of the sheet, expert repairs to loss in the upper left quadrant, and lower left, with repairs visible within the lower margin, further small repair to left of the number '8', unframed, à Paris chés Charpentier ruë St. Jacques au Coq, [circa 1700-1710].

Stone fragment head possibly 14th/15th Century, carved as if forming the capital of a small pillar, on a later stand, 10cm x 10cm (excluding stand)

Theo Van Rysselberghe (Belgian, Post-Impressionism, 1862 - 1926)Oil on boardSigned 'VR' bottom right60.5(H) x 42(W) cm (in frame)Théophile Théo van Rysselberghe (23 November 1862 - 14 December 1926) was at the heart of the Brussels art world during the brief period in the late nineteenth century when the Belgian capital was a leading centre for the display of international avant-garde art. He was a founding member of 'Les Vingt', the influential exhibition society, and played a pivotal role in the European art scene at the turn of the century.His early paintings were influenced by the French Impressionists and Whistler. In Paris in 1886, however, he saw the Post-Impressionist artist Georges Seurat's monumental 'Sunday Afternoon on the Ile de la Grande Jatte' and recognised the significance of the pointillist style. Van Rysselberghe adopted the style himself, becoming the leader of the Belgian pointillists, until he gave it up in 1904.

Michael Quirke (b. 1946) - Scene on the Thames with London Bridge, the Houses of Parliament and Big Ben, signed with artist's initials, oil on canvas, 25.5" x 30", framed - ** Artist studied at St Martin's School of Art, London and is based in the capital working from St Patrick's Studios in Wapping, he also studied art at Chelsea and Goldsmith's College, he was fortunate to meet the artist Frank Auerbech and Leon Kossoff who clearly became lasting influences on his work because of their expressive style and regularly interprets London's landmarks including St Paul's and the Thames

Michael Quirke (b. 1946) - 'Evening, Kensington', signed with the artist's initials, also inscribed with the title verso and signed, also dated '98 (1998) in the artist's own hand, oil on canvas, 24" x 20", framed - ** Artist studied at St Martin's School of Art, London and is based in the capital working from St Patrick's Studios in Wapping, he also studied art at Chelsea and Goldsmith's College, he was fortunate to meet the artist Frank Auerbech and Leon Kossoff who clearly became lasting influences on his work because of their expressive style and regularly interprets London's landmarks including St Paul's and the Thames

Michael Quirke (b. 1946) - 'After the Storm', scene on the River Thames, London, with St Paul's and other buildings, signed and initialled 'MQ' to the lower right, also inscribed with the title and signed verso, oil on canvas, titled verso and date '03, 36" square; framed - ** Artist studied at St Martin's School of Art, London and is based in the capital working from St Patrick's Studios in Wapping, he also studied art at Chelsea and Goldsmith's College, he was fortunate to meet the artist Frank Auerbech and Leon Kossoff who clearly became lasting influences on his work because of their expressive style and regularly interprets London's landmarks including St Paul's and the Thames

Crofton Archive A Collection of Architectural Drawings, Maps, Religious Manuscripts, and miscellaneous Estate Papers of the Crofton Family of Inchanappa House, Co. Wicklow, c. 1789 - 1900. The Inchanappa estate, together with lands in counties Cork and Monaghan, belonged in the 18th century to the Earbery family. Mathias Earbery (1734-1779), MP for Lanesborough 1768-76, married Elizabeth Barbara, daughter of Major Henry Crofton, and was father of Christopher Henry Earbery (1764-1818), who died leaving two daughters. The younger, Marcia Anastasia, married the Rev. Henry William Crofton (1795-1862), third son of Sir Hugh Crofton of Mohill, Co. Leitrim, 2nd Bart, who thus acquired the Earbery estates. The couple had no children and after her death Crofton married in 1840 Marianne Amelia Cazalet (died 1847) and thirdly in 1852 Frances, daughter of Robert Westropp of Fort Anne, Co. Cork. The Inchanappa line continued through Henry William's son by his second wife, Henry Morgan Earbery Crofton (1840-1878), and the latter's son Henry William George Crofton, a major in the East Surrey Regiment, who was killed in the South African war in 1902. Manuscript Books Folio Volume. Roll book of Inchanappa School for 1837 to 1841. Names 41 pupils, with comments on absences such as "picking potatoes", "gone to Arklow," "America" etc. Many blank pages. Folio Volume: Church Education Society for Ireland Report Book. Contains the rolls of Inchanappa School. 2 lists of pupils for 1841. Also numbers present and absent, with daily record of Bible passages read, from 15 Feb 1841 to 4 Feb 1843. The rest blank. Account Book of Rev Mr Crofton, 27 Upper Merrion St., Dublin, for 6 Feb 1835 to 25 June 1841. Contains: (1) accounts of goods sold at Inchanappa (mainly potatoes); (2) accounts of goods sold to workmen; (2) detailed accounts of work done by the blacksmith. Two Commonplace Books of the Rev Henry William Crofton, with religious and other notes, one containing many loose papers. Ten Exercise Books of Rev Henry William Crofton, each containing a Sermon. Scrap Book containing Christmas Cards, Sentimental Prints, etc. Some blank pages. Book titled "Norma". Contains expense accounts of the yacht "Norma" which was purchased by Henry M. Crofton of Inchanappa from Sir John Barrington for £525 on 5 March 1869. Continues to 8 Oct 1875. 33 pp, the rest blank. Small Notebook containing Workmen's Accounts, 1902-1903. Folio Volume. "Army Book 127." Blank. Miscellaneous Papers Indenture on Vellum dated 29 Oct 1789: lease of a house in Navan from Robert Ormsby of Grove, Co. Roscommon, to Anne, Elizabeth and Margaret Everard of Navan, spinsters. Four Folders of Accounts, Rev. William Henry Crofton in account with James Hunt, with rentals of lands in Co. Cork (Ballyvodane, Lackabane, Goalane, Knockaroorke, Garranredmond, Cork City, Ballingarry). Marked respectively as closed on 1 Sept 1849, 29 July 1850, 12 July 1851, and 28 Jan. 1853. Fair copy of the marriage settlement of Henry William Crofton of Inchanappa, Clerk, with Frances, daughter of the late Robert Westropp of Tinnekilly, 1852. Brief on behalf of the respondent, 17 Dec 1867, in the case of George Smith and his wife Frances (widow of Rev. Henry William Crofton), versus Henry Morgan Earbery Crofton (eldest son and successor of the Rev. H.W. and Frances Crofton), to determine what lands the petitioner was entitled to after his marriage. Rental of the estate of Henry Morgan Earbery Crofton in counties Monaghan and Cork, 1862. Bills, estimates etc for draining, repairs, building works at Inchanappa on the farm, farm buildings, and house: Guy Price, carpenter, James Sheil, architect, 1820-1821. A large quantity of miscellaneous vouchers, bills, receipts, etc., mid-19th century. Architectural Drawings Most of these are for work done at Inchanappa House c 1820 by the Dublin architect James Sheil (c1795-1840). Although so little is known about his life, Sheil was important in his day: he virtually doubled the size of Killeen Castle, succeeded Francis Johnston as architect for Tullynally, and designed seats for many of the Leinster gentry. "Plan of the window and dressings in front of Library, full size, for the Miss Earberys. Jas Sheil architect." 97 x 67 cm. "Entablature to the full size for the Library Columns. Soffite of the Corona and Modillions to the full size. Base and Capital of Columns full size for the Library. James Sheil Architect." 99 x 67 cm. "Plans for the Stucco Work at Inchanappa. James Sheil Architect." Design for a stucco ceiling rose for the drawing room. Badly torn and crumpled but the drawing and text are intact. "James Sheil. Plan of the additional farm offices at Inchanappa Co. Wicklow for the Miss Earberys. Elevation of the Cow House & c. Elevation of the Cart House and Piggery." 73 x 53 cm. "J. Sheil. Plans of the Additions & c to the House at Inchanappa Co Wicklow for the Miss Earberys. Plan of the Bedchamber Floor. Plan of the Principal Floor. Plan of the Basement Story." 96 x 66 cm. "Elevation of the Principal Floor for the Miss Earberys, Co. Wicklow. J. Sheil." 65 x 54 cm. Ground plan of Inchanappa House, by John McCurdy. 65 x 48 cm. Two copies of the bedroom plan, John McCurdy architect, 10 Leinster St., Dublin. 68 x 50 cm. Coloured plan of part of house, marking the entrance hall, dining room, housekeeper's room, study, etc. Unsigned (by McCurdy?) Manuscript Maps "Maps of part of the lands of Inchinappo … in tenure of Mr Samuel Sempill … Surveyed August 1757 by Jacob Nevill." Scale, 20 perches per inch. 59 x 48 cm. "A Survey of the Demesne and Lands of Inchanappa ….. done for Mrs Earberry, by Jno Longfield, 1806." 10 perches per inch. An attractive large-scale map, marking in colour the woods, lawn, house and gardens, besides other lands, and with a detailed reference section. 95 x 71 / 37 cm. "Map of C. Grumly's, E. Chapman's, Mrs Chapman's and Fitzsimons's Farm. Being part of the late Counsellor Earbery's Estate. Survey'd in February 1819 by J.S. Manning." 48 x 40 cm. Coloured green, yellow and brown. Marks houses. An attractive map, but unfortunately now torn in two and very fragile. "A Map of the Townlands of Inchinappa North, Inchinappa South and Broomfield; and of portions of the townlands of Ashford and Ballinahinch in the Union of Wicklow, Barony of Newcastle and County of Wicklow. Done for the Rev. H.W. Crofton A.D. 1833." Scale, 10 perches per inch. A fine large-scale coloured map of the Crofton estate. 96 x 67 cm. Printed Maps Ordnance Survey Maps of: · Co. Wicklow, 6", sheet 19, and 1/2500 sheets 19.4 and 25.2 · Co. Cork, 6", sheets 50, 51, 59, 61, 62 · Co. Wicklow index map Map of the South of England showing places marked out for military manoeuvres, 1898. (1)

A pair of 20th century Chinese base metal candle standsThe pierced stepped square bases on bracket feet with a central column with curved dragon, leading to a dished capital with scalloped edge. (2)Height – 42 cm / 16.5 inches

An Edwardian mahogany and inlaid drop-leaf Sutherland table and two oak nests of graduated occasional tables, a light oak side table and a buttoned leather upholstered footstool on scroll supports (possibly converted from a 19th Century pillar capital)

INCUNABLE - Bible, in Latin. Biblia cum tabula noviter edita. Venice: "per Symonem Bevilqua," [not before 22 November] 1494. Large 8vo (207152mm). 464 leaves [collated complete, with blanks as called for], printed mostly in double column, table printed in triple column, 55-lines to a page, small Gothic type, initials hand-painted alternately in red and blue, capital letters marked in red, printed marginal notes, table by Gabriele Bruno (small pieces torn away from blank margins of aii, m4, r2 and J1, tab torn at margin of q1, marginal repair to C5, some light mainly marginal staining and spotting, mainly at lower margin). Contemporary panelled calf over boards, small vellum tabs (rebacked, upper cover detached, lower joints split, spine rather worn, lacks clasps, corners eroded, inner hinges crudely reinforced, rubbed and scuffed). Provenance: old [?]signature on aii scribbled out and partly excised; E. Calvert (later library label on front pastedown), some old marginal annotation. One of the "Fontibus ex grecis" Vulgate bibles, which were translated from now-lost ancient Hebrew and Arameic manuscripts between 382 and 405 AD by the scholar priest known as St. Jerome (Eusebius Hieronymus), and one of the first of all Latin bibles to be printed in a smaller format. BMC V.519; cf. Brunet I, 327; Copinger Incunabula biblica 100; Darlow & Moule 6089; Goff B597; GW 4274; Hain 3117*; IGI 1677; Quentin 81; Sheppard 4468.

Royal Mint 2010 / 2011 CAPITAL CITIES 4 X £1 PIEDFORT SILVER PROOF SET with COAs

A continental crystal centerpiece, of oval form with pressed geometric detail above the shell form supports resting on the marble base, 9"h x 10"w Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caulfield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers.

A Classical style spelter figural mantle clock, in the form of an allegory of America, 17"h Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

An Italian Renaissance style ebonized and partial gilt console table, having a rectangular top with a floral decorated apron surmounting the tapered supports with swag accents, and conjoined by the block and turned H stretcher, 39"h x 56"w x 25"d Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

(lot of 6) Modern Italian Neoclassical style carved wood open armchairs, each having a balloon back, with cream upholstery, and rising on tapered legs, 39"h Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

An Italian carved onyx covered urn, in the Classical taste, of ovoid form and resting on an octagonal base, 23"h Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

A pair of oversize fauteuils by Kreiss Collection, the large form with loose cushions, and rising on carved cabriole legs, 42"h x 35"w x 38"d Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

George I style walnut cabinet, circa 1900, having turned finials above two doors having inlaid banding opening to a shelved interior, above the lower case with two additional doors, and rising on a molded base, 97"h x 51"w x 23"d Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

A terra cotta urn in the Classical taste, having a flame finial surmounting the tapered body with figural reserves, and terminating on a circular base, overall 24"h x 12"w Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

A French Provincial two door armoire circa 1760, having a floral carved crest surmounting the two paneled doors, and rising on inswept legs, 95"h x 58"w x 24"d Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

A pair of Classical style oak baluster ornaments, each having scroll carved sides, above a fluted standard and rising on a circular base, 34.5"h Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

A Venetian giltwood, etched, and cut glass mirror circa 1870, having a floral capped urn form finial surmounting the central swag, above the highly decorated and segmented looking glass border surrounding the oval looking glass, overall 58"h x 37 Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers.

A Jacobean style carved mahogany open armchair, having a scroll carved crest above a figural splat, continuing to the burgundy upholstered seat having brass nail head trim, and rising on baluster form legs, Provenance: Property from the Estate of Frank J. Caufield, San Francisco (CA) and Montecito (CA) Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

"Bruxelles, Exposition Universelle, 1935," vintage lithographic poster in colors, published by J.De Greve and Co., Fonsny, Bruxelles, printed in Belium, image: 39"h x 23.75"w, overall (with frame): 48.75"h x 33.5"w. Provenance: Estate of Frank J. Caufield (San Francisco, CA). Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

Charles-Jean Hallo (Alo) (French, 1882-1969), "Grasse Cote d'Azur, Cite du Calme, des Fleurs, et des Parfums," circa 1920, vintage lithographic travel poster in colors, signed in plate lower right, Imp. Chaix Paris, image: 38.5"h x 23.5"w, overall (with frame): 50"h x 35"w. Provenance: Estate of Frank J. Caufield (San Francisco, CA). Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

Russian School (20th century), "USSR Health Resorts," circa 1930s, vintage lithographic travel poster in colors, signed "M. Hectepoba" in plate lower right margin, possibly proof printing without bottom text, sheet: 39"h x 24"w, overall (with frame): 52"h x 36.75"w. Provenance: Estate of Frank J. Caufield (San Francisco, CA). Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

Georges Dorival (French, 1879–1968), "Rome, Par la Voie du Mont- Cenis, color lithograph and offset poster, print signed in plate lower left center, published by Affiches Photographiques Robaudy - Cannes, France, sight (image): 40.75"h x 29.25"w, overall (with frame): 53.5"h x 41.5"w. Provenance: Estate of Frank J. Caufield (San Francisco, CA). Mr. Caufield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

(lot of 8) Louis XIV style walnut-stained wood dining chairs, each having green upholstery accented with brass nail head trim, and rising on scrolled legs, 45"h Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caulfield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers

(lot of 4) Louis XIV style walnut-stained wood dining chairs, each having green upholstery accented with brass nail head trim, and rising on scrolled legs, 45"h Provenance: Estate of Frank J. Caufield (San Francisco, CA) Note: Mr. Caulfield was one of the founding partners of the venture capital firm Kleiner, Perkins Caufield, and Byers.

Charles Gregory (United Kingdom, 1810-1896) important oil on canvas marine painting of the 1870 America's Cup Yacht Race, depicting the Cambria, representing the Royal Thames Yacht Club, racing against one of seventeen American schooners. The ships are in full sail, under a partly cloudy sky, with sailors visible on deck, and smaller vessels - including the Sandy Hook light ship- in the background. Signed "Charles Gregory" lower right. Titled on plaque affixed to front of frame. Label en verso of frame for RJ Stannard Picture Frame Manufacturers, London. Housed in a likely original giltwood frame with acanthus, husk and rope moldings. Sight - 27 1/2" H x 35 1/2" W. Framed - 39" H x 47" W. Note: the 1870 America's Cup was the first to be hosted in the United States, and was declared by the New York Herald that year to be "the most exciting yachting event on record." It was the first challenge to the Cup since 1851, when the yacht America had claimed the "100 Guinea Cup," an annual lap of the Isle of Wight, and brought the trophy to the United States. Nineteen years later, British tycoon James Ashbury and the crew of his yacht, the Cambria, believed she could reclaim the trophy for England. They mounted what was, ultimately, an unsuccessful challenge against seventeen schoolers from New York Yacht Club on August 7, 1870. An estimated 100,000 people watched as Franklin Osgood's Magic, the overall winner, successfully retained the cup, and became the trophy's first defender. The artist, Charles Gregory, was considered the premier yacht portraitist of his day. He was born and painted his entire life on the isle of Wight, known then (as now) as the yachting capital of Great Britain. Provenance: Private Chattanooga area collection. CONDITION: Overall very good condition with yellowing and some grime to varnish layer. Scattered craquelure. Frame: Some wear and regilding to frame; scattered shrinkage and small losses.

Two (2) Bound Groups of Japanese Woodblock Books plus four (4) loose volumes, 7 items total. 1st item: KARAKU MEISHO ZUE, HIGASHIYAMA BU (Famous Sights of the Beautiful Capital: Higas), illustrated by Matsukawa Hanzan (fl. 1850-82) and published by Akihiro Kumura, circa 1862. 8 woodblock printed volumes, ink on paper, containing illustrated views of the traditional part of Kyoto: people, festivals, gardens, temples, Samurai, and more. Fukurotoji bindings. Preserved in a blue slip case. Books measure 7 1/4" x 10 1/2". 2nd item: Takagi Sadatake (active mid 18th century), Honcho Garin - A Grove of our Country's Paintings, 1752. 3 woodblock printed volumes, ink on paper, with fukorotoji bindings, blue covers with original title slips. Various Kano school illustrations of birds, mammals, human figures and landscapes. Previous owner handwritten list of illustrations included. Dark blue slipcover case, 1 1/4" x 7 1/4" x 10 1/2". 3rd-6th item: 4 loose books of Japanese woodblock prints, including KATSUSHIKA HOKUSAI (1760-1849), "Illustrated Selections of Chinese Poems" Vol. II and 2 volumes from "Designs for All Artisans," circa 1835; and 1 volume by unknown author/artist. 8 3/4" x 6". Provenance: by descent from the estate of Russell and Cornelia Speights, Nashville, Tennessee. CONDITION: 1st item: Overall very good condition with toning to pages, wear to covers. Separation of one leaf pasted down to cover in volume 1. Some bookwork damage to two volumes. Wear and Fading to slipcase. 2nd item: Fair to poor condition. Significant worm damage to pages and covers. Covers with creasing, wear and fading, possible rebinding. Slipcase with fading. 3rd-6th items: Wear and fading to covers, toning and a few spots scattered worming and grime to pages, overall good condition.

Two (2) Maps of Tennessee, two (2) maps of Tennessee and Kentucky, 4 items total. 1st item: Tennessee map, from American Pocket Atlas, published by Mathew Carey, Philadelphia, 1816. Copper plate engraving depicting Tennessee, center and surrounding areas, with cities and towns, including Knoxville, Clarksville, and Nashvill [sic], roads, bodies of water, and other points of interest, including Cragfont, the Home of General James Winchester, labelled. Title and scale of miles, top center. Map surrounded by scale notations and line border. Encapsulated (not laminated) in a plastic archival sleeve and secured to a mat. Plate - 6 5/8" H x 8 1/2" W. Sheet - 8 5/8" H x 10 5/8" W. Sight - 8 1/8" H x 10 1/8" W. Mat - 13" H x 14 5/8" W. 2nd item: Kentucky and Tennessee map, believed to be by David H. Burr, from The American Atlas, published by John Arrowsmith, London, 1839. Copper plate engraving with hand coloring depicting Kentucky and Tennessee and surrounding areas, with cities and towns, including Knoxville, Nashville, and Frankfort, roads, bodies of water, and other points of interest labeled. Title cartouche, top left. Surrounded by scale notations and a decorative border. Encapsulated (not laminated) in a plastic archival sleeve and secured to a mat. Sheet - 8 3/4" H x 11 3/4" W. Sight - 8 1/2" H x 11 1/4" W. Mat - 12 1/2" H x 15 1/8" W. 3rd item: Map of the States of Kentucky and Tennessee, engraved and printed by Fenner and Sears Company, from The History and Topography of the United States, J.H. Hinton, ed. London: I.T. Hinton and Simpkin & Marshall, Vol. 1, facing pg. 421, 1831. Copper plate engraving depicting Kentucky and Tennessee and the surrounding areas with cities and towns, including Knoxville, Lexington, and Nashville, with Murfreesboro listed as the capital of Tennessee, roads, bodies of water, and other points of interest labelled.Title and scale of miles, top left. Surrounded by scale notations and a triple line border. Encapsulated (not laminated) in a plastic archival sleeve and housed in a double mat. Sight - 10 1/4" H x 16" W. Mat - 14 3/4" H x 21 5/8" W. 4th item: A New Map of Tennessee, engraved by J. and W. W. Warr, from A New Universal Atlas by Henry S. Tanner, published by Carey and Hart, Philadelphia, 1841. Copper plate engraving depicting Tennessee and the surrounding areas with cities and towns, including Knoxville, Clarksville, and Nashville, roads, bodies of water, and other points of interest labelled. Two inset maps of Nashville and Knoxville, top left and right. Title and scale of miles, top center, explanation, lower left, Steam Boat Routes tables, lower right. Surrounded by scale notations and a triple line border. Encapsulated (not laminated) in a plastic archival sleeve. Plate - 12 3/8" H x 15 1/4" W. Sheet - 12 7/8" H x 16" W. Sleeve - 14 1/8" H x 17 1/4" W. All items first half of 19th century. CONDITION: All items in overall good condition with light toning/acid burn, minute foxing spots. 1st item: Pencil inscription en verso. 2nd item: Toning impressions visible en verso. David Lloyd Swift label indicates that the map was professionally encapsulated, cleaned, and deacidified on February 3, 1998. 3rd item: Toning impressions to surface of sheet. David Lloyd Swift label indicates that the map was professionally encapsulated, cleaned, and deacidified on November 1, 1989. 4th item: Pencil inscriptions, lower right of sheet. Areas of loss, largest 5/8" x 1 1/8", to sheet. David Lloyd Swift label indicates that the map was professionally encapsulated, cleaned, and deacidified on February 13, 1998.

HISTORIC PLACES IN TENNESSEE, a bound collection of photographs, prints and maps compiled by the Tennessee Society of the Daughters of the Revolution (DAR) for the Tennessee room of the DAR Headquarters, Memorial Continental Hall, in Washington, D.C., with seven gelatin silver prints by noted Nashville photographer Marvin Willard Wiles (1882-1957) and hand printed text and hand painted enhanced capital letters with vignette illustrations by Haywood Norman. Title page reads: "Historic Places in Tennessee, Selected and Presented to the Tennessee Room, Memorial Continental Hall, by Penelope Johnson Allen, State Historian, Tennessee Daughters of the American Revolution, November 1923. Inscriptions and Decorations by Haywood Norman". The book is comprised of thirty (30) photographs, illustrations, and two (2) maps, all relating to Tennessee history, each with handwritten information text pages and enhanced capital letters by Norman. Wiles' photographs include images of the front and rear of the Hermitage, Cedar Lane, the gateway to the Hermitage, The Original Hermitage, Belle Meade, the Parthenon, and The Tennessee State Capitol building. Other notable sites and images featured include a facsimile of The Timberlake Map, Tennessee's first "authentic" map, the first church building in TN, President Andrew Johnson's Tailor Shop, Jonesboro, The Boone Tree, John Sevier's Church, and the Cumberland Gap. Housed in a leather bound portfolio with marbleized end pages; wooden title placard to the front cover with hand painted Tennessee state seal. 12" H x 11 3/4" W x 2" D. Biography: Marvin Willard Wiles, son of Mary Elizabeth (nee Cruzen) and Henry G. Wiles, was born in Hagerstown, Washington County, Maryland. He may have spent some of his childhood in Florence, Alabama, where his father had a business, and reportedly moved to Nashville, Tennessee, in 1895. "M. W. Wiles" and Lessie J. Hood were married on 19 May 1903 in Davidson County, Tennessee. City directories for Nashville through 1908 show him employed as a clerk or salesman, and beginning in 1909 as a photographer. Marvin Wiles opened a photography studio in Nashville in 1910, and took pictures for local newspapers, covering events such as Woodrow Wilson's inauguration and the return of soldiers from WWI. Marvin Wiles entered a partnership with Steve Hood in 1940, creating the Wiles-Hood Studio, and retired in 1954. The Tennessee State Library and Archives has a collection of 60 photographs taken by Marvin Wiles in and around the Nashville area. (source: https://www.findagrave.com/memorial/67955265/marvin-willard-wiles). CONDITION: Cover with overall general wear and losses, chipping to the edges, spine partially detached. Some light shedding. Interior overall good condition with light toning and wear.

Twelve (12) World War II United States propaganda posters by artists including John Atherton and Steve Broder. 1st item: Poster depicts a male soldier wearing a green helmet looking up while raising a United States flag on a pole. Text, in white across bottom left reads "To Have and to Hold!" and in large, red capital letters at the bottom "War Bonds". Published by the U.S. Government Printing Office, 1944, and reads "Official U.S. Treasury Poster" across the bottom. Unframed. 28" H x 20" W. 2nd item: Poster depicts a black and white photograph of a lady's hands, wearing a wedding ring, and knitting a baby sock. Red, white, and blue stripes run diagonally from top left to bottom right behind black text that reads "For the Future – Worth Fighting For …… Worth Saving for! – Buy More War Bonds through the Pay Roll Savings Plan during the Third War Loan Campaign." Published by the U.S. Government Printing Office, 1943. Text at bottom reads "Interdepartmental War Savings Bond Committee." Number "8" stamped in black and "Enclosure" stamped in purple en verso. Unframed. 28" H x 22" W. 3rd item: Poster depicts a large color illustration of the Concord Minuteman statue with a colonial town scene in the background, including a church, town hall with clock tower, trees, and silhouettes of people walking. Blue text at top reads "For Freedom's Sake" and in all capital red letters at bottom "Buy War Bonds". Signed "JA" in bottom right for artist John Atherton.Unframed. 28" H x 22" W. 4th item: Poster titled "New Air Raid Warning System" in all outlined white all-capital letters at the top, with light blue background and navy blue, red, and white text and graphics. Text describes different signals, their meanings, and mandated civilian actions in the event of an air raid in the United States. Published by the U.S. Government Printing Office, 1943. Text at bottom reads "Approved by the U.S. Office of Civilian Defense, The Eastern Defense Command, and the First Army." Unframed. 20" H x 28" W. 5th item: Poster titled "The Greatest Investment on Earth!" on a white background depicts red, white, and blue stripes running on a diagonal from the top left to bottom right corners, with a $25 war bond with a stone house in the middle of it, superimposed over a map of the contiguous United States, while a black and white illustration of a smiling husband and wife with their two children stand in the lower left. Text at bottom reads in all capitals "For Your Country…. Yourself….Your Family – War Bonds – Through The Pay Roll Savings Plan!" Published by the U.S. Government Printing Office, 1943. Unframed. 28" H x 22" W. 6th item: Poster titled "The United Nations Fight for Freedom" in white letters against a black background depicts the Statue of Liberty in white, in the lower left corner with her arm raised along the left side. The flags, in full color, of the thirty (30) countries of the United Nations are depicted with the name of each country in white text below its flag. Artist's name "Broder", for Steve Broder, appears at the center bottom. Published by the U.S. Government Printing Office, 1942. Unframed. 28" H x 22" W. 7th item: Poster depicts a subdued color scene with a deceased sailor in a blue uniform with white trim lying on a beach in the surf and a sunset sky, against a black background, with text below that reads "a careless word… – A Needless Loss." Artist's name printed below the picture "Anton Otto Fischer." Published by the U.S. Government Printing Office, 1943. Unframed. 28" H x 22" W. (for the full description and condition report, please visit our website at http://www.caseantiques.com).

Three (3) Religious art work items, including French illuminated manuscript and Gothic Revival style painted chromolithographs of angels. 1st item: French gouache on vellum illuminated manuscript religious page, double sided, with black and red lettering and enhanced capital letters with gold leaf highlights. Housed and double matted under double-sided glass in a gilt wood frame. Sight - 4 1/2" H x 3 1/2" W. Framed - 11 1/2" H x 9 1/2" W. Circa 15th century. 2nd-3rd items: Two (2) Gothic Revival style framed panels, each with chromolithographic prints of angels, finished with oil or gouache. Both angels are depicted with faces surrounded by halos and wings, wearing tunics with gilt embellishments, one holding a trumpet, and one holding a drum, against flat gold backgrounds. Unsigned. Frames have pointed arch shapes with reed and ribbon and bead course moldings. Sight - 18" H x 6 5/8" W. Framed - 28 1/4" H x 17" W. Continental, circa 1900. Provenance: the estate of Kent Cathcart, Nashville, Tennessee. CONDITION: 1st item: Overall good condition. Minor areas of loss to frame. Not examined outside of frame. 2nd-3rd items: Overall good condition. Surface abrasions, largest 1 1/4", to panels. Craquelure to painting of angel with drum. Areas of loss, largest 3 1/2", natural age related shrinkage to frames.

Two (2) religious texts, including hymnal with illuminated pages. 1st item: L'OFFICE DE LA SEMAINE-SAINTE, New Edition, Latin and French text, published by La Compagnie des Libraires, Paris, 1723. Octavo, 608 gilt edged pages with illustrations to title page and capital letters, rebound in full red morocco 'plaque' binding in the style of Antoine Michel Padeloup, gilt lettering to spine, five raised hubs to spine, inner leather doublures and marbled endpapers, green ribbon bookmark. 8 7/8" H x 6" W x 2 1/4" D. First quarter 18th century. 2nd item: Partial 32mo Latin hymnal, handwritten musical staves on vellum with embellished capital letters. Two additional pages attached to back, brown leather spine and back cover with blindstamping, five raised hubs to spine, two partial metal lock mechanisms to back cover. 5 1/2" H x 4 1/4" W x 2 1/2" D. Circa 16th century. CONDITION: 1st item: Covers with wear, scuffs, cracking to spine, corners bumped. Toning, foxing spots to pages. Ink inscription from previous owner to front endpaper. 2nd item: Does not include front cover, remaining spine and back cover in worn condition with areas of loss, largest 3/4" x 1/4", areas of possible insect damage. Pages with toning, foxing spots, areas of dampstaining, wrinkling, area of burn damage, etc. to be expected from age.

Group of assorted silver pieces, including American flatware, mother of pearl handled set, English and Russian serving spoons, and souvenir spoons, 67 items total. 1st-25th items: 25 pieces of assorted American flatware and serving pieces, 4 Lunt pieces, including 2 Mount Vernon pattern teaspoons, 1 inscribed "BLAIRSVILLE PA" to bowl and 2 Monticello pattern pieces including 1 lemon fork and 1 five o'clock spoon, 2 Oneida/Heirloom pieces, including 2 Young Love pattern teaspoon and 1 Reigning Beauty baby spoon, 2-piece Gorham Rondo pattern baby fork and spoon set, 1 Watson five o'clock spoon, 1 Towle teaspoon, 1 S. Kirk & Son demitasse spoon with inscription reading "From Mother 1927", 1 Fisher butter dish lid, 1 Randahl candle snifter, 2 teaspoons, 1 five o'clock spoon, 4 demitasse spoons, 1 salt spoon, 2-piece carving knife and fork set, 1 bread knife with sterling hollow handle and Sheffield, England stainless blade, and 1 ovoid napkin ring. Ranging in size from 2 1/4" to 12 1/2" L. 26th-37th items: Set of 12 American Cutlery Company mother of pearl handled pieces, including 6 knives and 6 forks, sterling stamped to ferrules with embossed scrolling bands. Ranging in size from 7 3/4" to 8 7/8" L. 38th-39th items: 2-piece carving knife and fork set. Housed in a fitted wooden case. Ranging in size from 8 5/8" to 10 1/4" L. Case - 1 1/2" H x 12" W x 4 3/8" D. 40th item: English serving spoon, marks for John and William Deakin, Sheffield, 1885. 8 1/8" L. 41st item: Russian .875 serving spoon, marks for Kazan, assay marks for Ivan Vasilyevich Avdeyev, Moscow, 1859. 8 1/4" L., 2.188 oz troy. 42nd-55th items: 14 souvenir spoons, 2 with enamel decorations to handles, including 1 Lookout Mountain, Chattanooga, TN, 1 Chicago, IL spoon depicting the Masonic Temple, 1 Acapulco, Mexico, 4 Indiana related, 1 State Capital, Denver, CO, 1 New Orleans, LA, 1 Sault Ste. Marie, MI, Sainte-Anne-de-Beaupre, Quebec, Canada, and 3 unmarked. Ranging in size from 4 1/2" to 8 5/8" L. 56th-67th items: 12 assorted thimbles, 11 with incised decorations to surface. Ranging in size from 5/8" to 1" H. Some items monogrammed. Combined weighable sterling (including enameled spoons): 18.047 oz troy. CONDITION: Overall good condition with normal surface scratches. 38th-39th items: Surface wear to case.

English School oil on canvas painting depicting a young woman with dark ringlets and wearing a black, off the shoulder dress, seated against a red drapery backdrop. Unsigned. Housed in a giltwood frame with fishscale surface and carved corner elements, stamped "Moseley, Carver & Gilder " and "Clements, Patent" en verso. British, circa 1830. Sight - 23 1/4" H x 17 1/4" W. Framed - 30" H x 24" W. Second quarter 19th century. Note: Frame maker Robert Moseley was active in Derby for more than 50 years, trading in partnership with George Tunnicliffe, c.1808-19, Walter James Moore, c.1826-27, and his nephew Henry Moseley, 1841-46, but otherwise independently. Robert Moseley was known for his wide-ranging interests and his links to the London trade where 'Moselys corners' were used in frame making by one leading maker. He was appointed as a carver and gilder to the King in 1828, an unusual distinction for a maker outside the capital. (source: https://www.npg.org.uk/research/conservation/directory-of-british-framemakers/m). CONDITION: Overall craquelure, stretcher marks to perimeter of canvas. Areas of blistering, largest 1 3/4", to drapery. Possibly relined with areas of inpainting. Areas of loss, largest 1/8", primarily to lower quadrant. Areas of loss, largest 1", age cracks to frame. Areas of loss, largest 30" x 3/4", to gilt on exterior of frame.

1780-1853 Dublin and environs, hand-coloured engravings, View of the Black Rocks, New Town Bourne, Bray Head &c.; View of Rings End, Irish Town, Pool beg, Clontarf, Ireland Eye Dublin Bat &c.; A Prospect of Dublin, the Capital of Ireland, all published by Alex Hogg; The Four Courts, Dublin by Bartlett; and Extraordinary Meteor Seen Over Dublin, on the Night of September 2, 1853.the largest 9" x 12¾" (23 x 32cm) (5)

Victorian sampler, wool stitched on gauze, square frame with capital letters, the centre inscribed "Lorna and Philip, 29th June 1885", geometric designs and numerals etc, 26 x 21.5cm

An Orator Watch Company wristwatch, a watch movement marked chronoscope, a tank shaped Capital wristwatch and two other wristwatches, mid 20th Century

E M WELCH OF FORESTVILLE, USA; a late 19th century American eight day ogee wall clock, the circular dial set with Roman numerals above two coloured printed glass panels inscribed 'Capital at Albany, N.Y.' and 'Court-House, St. Louis', flanked by twin turned gilt columns, with key and pendulum, 82.5 x 42.2cm.Additional InformationGeneral heavy wear, not tested, no guarantee of working order, rubbing to printed detail on dial, rubbing to gilt, surface scuffs and scrapes, some splits and knocks, the right lower front section slightly separated from the base, some minor surface losses, marks, abrasions and discolouration to the glass decoration.

Royal Air Force Log Book Grouping of Flight Lieutenant E C Cox Number 15 and 29 Squadrons RAF, Served from 1939-1945, the first log book in the group is his Observers and Air Gunners log which commences with training in December 1939, he first started flying operationally as a wireless operator Air Gunner with No15 Squadron in July 1940 in Blenheim’s, he flew with various pilots including S/L Singer DSO DFC, P/O Lane-Samson DFC and S/L Webster DSO DFC, to name a few. Most of the operations at this time were bombing of the German held Belgium and French ports and invasion barges etc. On the 9th September 1940, he notes as attack on enemy shipping in Oostende, it tells of an engagement with a ME110 and how his aircraft was damaged, loose in this page are two Air Ministry images of the damage to his aircraft from this engagement, written in pencil at a later date by Cox is the comment “May have damaged the blighter!”. In November 1940 he moved to Wellington bombers and began training with them, still serving as part of 15 Squadron. In early 1941 he was involved in the bombing operations targeting the German war machine factories, oil instillations and harbours, with many of the operations noted in detail and congratulation notes from command mounted into the pages. In March 1941 he joined No21 O.T.U. In June 1941 he was involved in a bombing raid on the French capital, Paris, ephemera is added to the page for this operation. The first log book ends on 14th March 1942 when he is posted for training as a pilot. The second log book begins in May 1942 when training to become a pilot. He trains on various aircraft throughout 1942 and 1943, including Oxford’s, Blenheim’s and Beaufighter’s. In October 1943 he is transferred to 29 Squadron, flying Mosquito aircraft. Towards the end of 1943 and early 1944, he was piloting various operations and he notes down a number of engagements with the enemy, including 24th February 1944, “PATROL – DURRINGTON G.C.I 1 HE.177 DESTROYED – OUR BIG NIGHT – A FLT GET 7 AND 2 PROBABLES” a entry is made over the page to state, “E/A LATER IDENTIFIED AS HE.177 FROM II KG 100 AT CHATEAUDON”, just a couple of nights later he notes, “PATROL – 2 CHASES – 1 NEAR THING HUN SHOT DOWN JUST IN FRONT OF ME!”. The second log book ends on 24th April 1944. In June 1944 he is tasked with various operations over the French beach heads, after the Normandy invasions. On 19th September 1944, he enters into his log book “PATROL TO COVER AIRBORNE LANDINGS IN HOLLAND – ARNHEM ABLAZE!”. By the end of 1944 he was posted to No 60 O.T.U and then later in 1945 No 13 O.T.U. The second to last entry in the log is on 22.10.45 “ATTACHED FROM HQ 12 GROUP TO RAF MOLESWORTH FOR NAV DUTIES” with the very last entry being written in pencil dated 10th October 1988 on a Piper Warrior taking off from Headcorn, obviously this was a private flight he took and made a note of it in his original wartime log. Accompanying the log books is a tin of cloth insignia, including his pilots wings, medal ribbon bars and rank insignia etc.

Athanasius of Alexandria, Life of St. Anthony the Great, in the Latin translation of Evagrius of Antioch, large cutting from a manuscript leaf on parchment[France, second half of the ninth century] Cutting from the top half of a leaf, with remains of double columns of 20 lines in a fine and rounded Carolingian minuscule with et-ligature used integrally within words and a capital 'q' whose tail curves to the right presumably following Insular influence, remains of upper margin at head of cutting, some losses to edges of columns at sides and upper corners, recovered from a binding and hence darkened, scuffed and with damage, parchment slightly translucent in places, 150 by 240mm.; housed within Rendells' printed paper sleeve and within fitted cloth covered case A hitherto unidentified early-Carolingian witness to one of the fundamental texts of medieval monasticism Provenance: 1. Written most probably for use in a monastery in Carolingian France in the second half of the ninth century; and later reused on the binding of a book.2. Kenneth W. Rendell Gallery, cat. 146 (1979), no. 1.3. Sotheby's, 17 December 1991, lot 2.4. Schøyen Collection, London and Oslo, their MS 1541; acquired in Sotheby's. Text and script:With this lot we begin a short selection of manuscripts in Carolingian minuscule. It is fitting that this new script, so closely associated with the return of Christian study to Europe, should be used here for this work, which was of fundamental importance for the development of monasticism in Western Europe. It was composed in Greek by Athanasius of Alexandria (c. 296-373), himself one of the four great fathers of Eastern Christianity, while on his third exile from his episcopacy of Alexandria in the deserts of Upper Egypt. It is the most important source for the life of St. Anthony the Great (251-356), whose life is often thought of as the template for all future monastic callings. The work is thus both a study of a crucial figure for early Christianity, as well as a semi-autographical work of one of the earliest Church fathers to withdraw into a contemplative life in the wilderness. An early Latin translation prepared during the life of the author survives in a single manuscript, and this was superseded by that produced by Evagrius of Antioch in the aftermath of the author's death in 373. In this form it championed the spread of monasticism in the West, and was essential reading in every medieval monastic foundation. It was the subject of a new edition in the Corpus Christianorum series last year by P.H.E. Bertrand and Lois Gandt, and the present cutting contains parts of chapters 80-81 in that edition (chapters 50-51 in Migne, Pat. Lat. 73, cols. 162-3). As Bertrand notes, approximately 400 manuscripts survive from the Middle Ages, but these are overwhelmingly from a boom of interest dating to the eleventh century and later when monastic foundations reached their peak in the Middle Ages. Only fourteen Carolingian witnesses survive, with only Bern, Burgerbibliothek 376 and Munich, Bayerische Statsbibliothek, Clm 6393 (both of c. 800), certainly predating the present witness. 

Ɵ Conflictus veris et hiemis, a verse in hexameters on the debate between Spring and Winter, attributed to Alcuin of York, with the translations and miracles of St. Lomer, with further additions of Carolingian music, in Latin, decorated manuscript on parchment[France (most probably Blois), c. 873 and tenth century]Fourteen leaves (plus a nineteenth-century parchment endleaf at each end), all conserved in nineteenth century and many remounted on guards and thus uncollatable, wanting 2 leaves after fol. 4 and another 2 leaves after fol. 12 as well as an 8-leaf gathering (now Vatican, Reg. Lat. 479: see below), last 4 leaves smaller than others (measuring 245 by 167mm.), the verse added to original endleaf at front in double column of 41 and 20 lines in a small and legible Carolingian minuscule with an extended ct-ligature and the characters' names in margin, one descender in lowermost line extended to form an ornate penwork leaf with a bauble mounted in its stem, and main texts relating to St. Lomer in single column of 29-36 lines in two closely related precise and refined Carolingian minuscules, both with et-ligature used integrally within words (but variant forms of capital 'q'/'Q'), the second with an NT-ligature and an uncial 'N' used in main text, crucial names in capitals, some capitals touched in red and others infilled with yellow wash, text opening major sections in capitals touched with red, rubrics of elongated red capitals, small red initials, larger initials in penwork, some with baubles set within their bodies or coloured in green and red, one large initial in delicate blank parchment penwork touched in red and set within dark brown initials terminating in floral flourishes, seventeenth-century scholarly marginalia, endleaf at front reused from a sixteenth-century French choirbook with music on a 4-line red stave, some stains to areas of text, spots from old mould damage at head, margins trimmed often to edges of text, overall good and solid condition on heavy and good quality parchment, 300 by 190mm.; nineteenth-century French brown calf over pasteboards, gilt-tooled with arched frames with floral sprays at corners, with spine gilt with "De S. Launomaro - MS IXe S" An important Carolingian monastic codex, containing a celebrated verse attributed to Alcuin, the leading intellectual light of the Carolingian renaissance, as well as the earliest witnesses to prose and musical texts relating to the Merovingian saint Lomer; this probably one of the last ninth-century codices to appear on the market Provenance:1. The main texts here on St. Lomer (also Laumer and Laudomarus) must have been written immediately after the translation of the saint's relics to a church in Blois in 874 (an event these leaves record), but before the foundation of the Benedictine abbey dedicated to the saint there in 924. Another eight leaves from the centre of this manuscript are the first part of a sammelband assembled in the seventeenth century in Italy (now Vatican, Reg. Lat. 479; A. Wilmart, Codices reginenses latini, 1937, pp. 651-2, with the whole manuscript reproduced online). Those contain the opening of the life of the saint, which ends abrubtly and is completed by the two words at the top of fol. 10r here.Crucially the opening of the text in the Vatican leaves refers to the saint as 'our patron'. In addition, there is a hitherto unnoticed contemporary or near-contemporary name added to the foot of the first of the present leaves, probably identifying "Raginoldus feldracanum" as an early user or perhaps donor of the codex. The second part of his name is hard to decipher, but a late medieval hand has added "Raginoldus feldra carutasis", suggesting Carnutum/Carnotum or Chartres as his town of origin (the monastery of Saint Martin au Val du Chartres was one of the temporary resting places of the relics and the community on their way to Blois: see N. Mars, Histoire du royal monastère de Sainct-Lomer de Blois, 1646, p. 29). His name does not occur in the published research of Dom Mars, but there is an unpublished and mostly unstudied six-volume cartulary of the eighteenth century for the house in the Archives départementales de Loir-et-Cher, ms. 11 H. 128, and search for this name there may reveal much.St. Lomer was born c. 530 at Neuville-la-Mare, north of Chartres, where he was ordained as a monk, before withdrawing into the forest of Perche where he founded the monastery of Corbion in 575, becoming its first abbot. He died in 593 while visiting Chartres and was buried near there, until monks from Corbion stole his relics a few years later to return him to his own community. Following a Viking attack on Corbion in 873/4 the community and their relics fled to Parigny near Avranches and then Le Mans before being offered sanctuary within the walled town of Blois. In the tenth century they moved outside the city walls to the church of St-Lubin, and then again in 1186 to the larger adjacent site they occupied for the remainder of the Middle Ages.2. Dom Noël Mars (1612-1702), the Benedictine monk and Maurist historian of Blois; with his marginal notes and signature, including one on fol. 10r referring to the Acta Sanctorum ordinis S. Benedicti, Paris, 1668, in which footnote 'a' on p. 338 evidently refers to this manuscript: "Haec ex MS. Historia S. Launomari Monasterii Blesensis a nostro Natale Mars erudite composite didicimus". The central leaves of the manuscript may well have become detached by the seventeenth century (see below), and Dom Mars conducted much antiquarian research in the archive of St-Lomer in the last decades of that century, and this may explain this section of it ending up in his possession. In 1789 the revolutionary government of the region suppressed the abbey, and seized its church for the parish of St-Nicholas two years later. Its goods and library were dispersed at the same time, with the Vatican leaves then beginning their journey towards Rome. Delisle notes four manuscripts in the BnF. as well as another in the collection of Herzog August in Wolfenbüttel from this medieval library (Le cabinet des manuscrits, 1868, II, p. 406).3. Louis de la Saussaye (1801-1878) of the Château de Troussay, near Blois, local historian, archaeologist, and numismatist, with a note of "un manuscrit du Xe siècle ... dant la bibliothèque de M. de la Saussaye" in Dom Mars' Histoire du royal monastère de Sainct-Lomer de Blois, p. 66, n. 2 and 7, n. 2, doubtless referring to these leaves. His sale, 30 September 1887, lot 1148.4. Schøyen Collection, London and Oslo, their MS 5577; acquired Sotheby's, 5 July 2016, lot 57.Text:Alcuin of York (c. 735-804) was the central intellectual figure of the Carolingian renaissance, and was educated in the renowned cathedral school at York under Archbishop Ecgbert (himself a pupil of Bede). By the 750s he was teaching in the school and came to the court of Charlemagne at the emperor's invitation, serving as 'master of the palace school' from 782, taking over the teaching of the emperor himself and his children, and becoming a guiding hand of the religious and intellectual revolution that was to follow. In 796, when entering his old age,... read more....  To view a video of this item, click here.

Kitab Alif Laila, the Book of One Thousand and One Nights, in Arabic, short quotations added to twelve cuttings recovered from Christian manuscripts, including various Bibles in Latin and a leaf from a copy of the Decretals, a Menaion and Oktoechos or Parakletike in Greek, an orthodox prayerbook and a Bible in Armenian, and a few originally blank pieces of parchment most probably from similar Christian books, manuscripts on parchment[France, Italy, perhaps England, Armenia, and Byzantium, ninth to twelfth century, with additions from the Holy Land in the late twelfth or early thirteenth century] Thirteen cuttings: (a) Matthew 11:16-19 and 12:5-25, in Latin, double column of 13 lines in a Romanesque book script, red and blue initials, northern France, mid-twelfth century, with addition of 6 lines in Arabic naskh (Thousand and One Nights); (b) Canon Law, Decretals, similar to but not identifiable as Ivo of Chartres, in Latin, single column of 13 lines in a good Romanesque bookhand, annotations in margins, headings in capitals (some touched in red), six 2-line initials, Normandy or England, first half of the twelfth century, with addition of 2 lines of Arabic naskh ("The 27th ... the two faces ... the guardian"); (c) Malachi 1:4-10; 1:14-2:20, in Latin, single column of 32 lines in a rounded bookhand, Italy, first half of the twelfth century, with addition of 6 lines in Arabic naskh ("The tenth sitting of the literal ..."); (d) Homiliary, including part of St. Gregory: Homiliae in Evangelia, Lib. II, Hom. 31, and reading from Matthew 9:9, single column of 16 lines in good Romanesque bookhand, perhaps Italy or Latin Kingdom of Jerusalem, second half of the twelfth century, with addition of 5 lines in Arabic naskh (the first and second reading according to the Wazir from the Baghari); (e) Zamagirk, part of the Armenian Orthodox Prayerbook, with readings from John and Matthew, double column of 10 lines in a sloping Armenian Uncial (erkat'agir), Armenia, twelfth century, with addition of 4 lines in Arabic naskh ("The fifth part of the twistings/turnings[?]"); (f) two fragments of Psalms, with the Name 'Elijah' in Armenian, double column of 16 lines in an Armenian Uncial (erkat'agir), Armenia, twelfth century, with additions of 2 lines of Arabic naskh (from The Book of the 40 Extracts, and Book of Manliness/Chivalry) on a paper label pasted on; (g) Menaion, part of the Office of the Apostle Bartholomew, for August 25, in Greek, double column of 30 lines in Greek minuscule, Byzantium, tenth century, with addition of 15 lines of Arabic naskh in upper and side borders (part of Thousand and One Nights and a charitable donation); (h) Oktoechos or Parakletike, liturgical book of the Byzantine Church, single column of 22 lines in a sloping Greek half uncial (the so-called 'mixed script'), Byzantium, ninth century, with addition of 3 lines of Arabic naskh (parts of Thousand and One Nights); plus four further cuttings from blank sections of parchment (but most probably also from Christian books), with (1) 4 lines of Arabic naskh ("The first part of the skilled-one and ... given to his children"), (2) 7 lines of Arabic naskh (section of the ninth part of the Service of Poetry, with a charitable donation), (3) 3 lines of Arabic naskh (Thousand and One Nights), (4) 2 lines of Arabic naskh (Thousand and One Nights); almost all approximately 150 by 170mm., some with tears and losses to edges, only one with substantial losses to edges (item a) This clutch of fragments is of breathtaking importance as witnesses to the Fall of Jerusalem; and they are most probably all that remains of a series of codices left abandoned in the city by fleeing Christians when it fell to the forces of Salah ad-din in 1187, and then reused by the Muslim conquerors as wrappers for their own books Provenance:1. Almost certainly from a library in the Holy City of Jerusalem, probably that of the Holy Sepulchre itself, the epicentre of Christendom and Christian devotion. The Crusades and the fall of Jerusalem were of the greatest importance to the history of the Middle Ages and the mind of medieval man. The call to arms to take back the Holy City gripped the population of medieval Europe and drew many thousands of them to strange lands beyond the boundaries of Europe. In addition, the eventual fall of that city to the Muslim invader in 1187 was a crippling lowpoint which inspired political and religious upheaval throughout Europe. Originally these leaves were part of a range of Christian liturgical and legal books from Western Europe, Byzantium and Armenia, dating from the ninth to the mid-twelfth century. Then they were cut up and reused as wrappers on a lengthy Arabic manuscript of One Thousand and One Nights, writing sideways along their blank spaces in handsome unvocalised naskh of not later than the thirteenth century, along with later Arabic names including an apparent reference to the Damascus historian Ali ibn Asakir (d. 1176). No other site apart from the Crusader kingdom of Jerusalem, and probably the Church of the Holy Sepulchre itself, could allow for this mix of scripts. It is of importance that the earliest fragments here are Greek (identified and published by Aiuto in 2006 and 2008). The arrival of the Western Crusaders in 1099 pushed out the Greek liturgy from the Holy Land in favour of a Latin liturgy based on the Rule of St. Augustine. However, Greek observance did continue in the Kingdom of Jerusalem (see D. Galadza, 'Greek liturgy in crusader Jerusalem: witnesses of liturgical life at the Holy Sepulchre and St Sabas Lavra', Journal of Medieval History, 43, 2017). Under Western rule, Jerusalem was the cosmopolitan Christian capital of the East, principally French and Genoese, although the wife of Baldwin II, its ruler, was Armenian. It fell to the forces of Salah ad-Din in October 1187, when the last French nobleman in the city, Balian of Ibelin, negotiated a surrender and peaceful passage to the sea for its occupants. Immediately after the surrender of the city, amid widespread looting, Salah ad-Din ordered the closing of the Church of the Holy Sepulchre, ultimately deciding not to destroy it, but handing it back to the Greek authorities. Other surviving books from Jerusalem, or fragments of them, testify to the carrying of valuable codices from the city by refugees (see British Library, Egerton MS 1139; Cambridge, Fitzwilliam, McClean MS 49; BnF, mss. lat. 9396 and 12056; and Vatican, cod. Vat.Lat.5974), but it should be noted that those were grand and opulent books. What we have here are more probably the last relics of the mundane books of the religious services of the city, abandoned by fleeing Christians, and picked up by some part of the Muslim conquerors and reused for their valuable parchment.2. These entering Arabic hands in the late twelfth century, perhaps passing then to a member of Salah ad-Din's Syrian forces, where they were reused as wrappers around a copy of Kitab Alif Laila, the Book of One Thousand and One Nights. When sold last in 1993, these cuttings were reported as thought to have have survived in Damascus, and this accords with the fact that in 1187 Salah ad-Din's forces were equally composed of Egyptians and Syrians, as well as the reading of the name of Ali ibn Asakir among the additions.3. Sotheby's, 6 December 1993, lot 3.4. Schøyen Collection, London and Oslo, their MS 1776, acquired in the Sotheby's sale.Read more... 

Eight English estate documents, including seven rental rolls for various estates in Somerset dated 1666, and an extract from the will of Penelope Sydenham, spinster of Crediton, Devon, dated 1769, all in Early Modern English, manuscripts on parchment or paper[Southwestern England, seventeenth and eighteenth century] Eight documents, comprising: (i) seven closely related rental rolls on parchment, containing the rentals of the manor of Chilton Dormer for the 6 months from Michaelmas 1666, as well as those of Sydenham Kitteford, Brympton Alvington and Sutton Bingham for the same time period, three of these with two copies present, all written by a single English secretarial hand, old waterstaining in places with some ink flaking and damage to edges of parchment, the smallest 260 by 170mm. and the largest 470 by 180mm.; (ii) extract from the will of Penelope Sydenham, with bequests to her family, her servants, a capital sum to be invested by the minister and churchwardens of Thelbridge for distribution of income to support the teaching of reading in the parish, the support of the school at Dulverton, and other bequests to the poor in the parishes of Chumleigh and Witheridge, on 6 sheets of paper and with 30 lines in a late English secretarial hand, attested at London on 3 February 1769, 310 by 200mm. Provenance:1. Sotheby's 17 December 1991, part of lot 41, alongside the Taunton related items in the previous lot.2. Schøyen Collection, London and Oslo, their MS 1563/2, acquired in Sotheby's.Please note: These items are subject to the Manorial Documents Rules. As such they cannot be taken out of England and Wales without the consent of the Master of the Rolls, and future owners must inform the secretary of the Historical Manuscripts Commission of their acquisition.

A small Welsh archive, most probably owned by Alban Stepneth, sheriff of Pembroke and Member of Parliament, and heirs, and including a royal Letter Patent of Queen Elizabeth I, single sheet manuscripts in Tudor English, on parchment[Wales (Pembroke and Haverfordwest) and England, mid- to second half of sixteenth century, 1601 and 1666] Seven documents, comprising: (a) Sale by "John ap Harre ap Hoell of Argoed" in the lordship of "Monhuntydale", Flint, and Agnes his wife, to "Res ap Edwardes ap Pell", of property at "Yelow", 38 long lines in secretarial hand, dated 19 November 1543, 250 by 290mm.; (b) Bond of Morgan Johns of Castle Malgwyn, Pembroke, to Alban Stepneth of Prendergast, Pembroke, with a condition referring to the sale by Johns of his part of the manor of Prendergast, to Stepneth and his wife Margaret, 23 long lines, dated 12 June 1568, 155 by 320mm.; (c) Grant by Thomas Woodford of Castle Piggin, Carmarthen, and his wife Elizabeth to Alban Stepneth of Prendergast, Pembroke, of a meadow in Prendergast next to the "friar's garden", and near the mill of "Hauford", along with other estates, 31 long lines, dated 18 August 1579, 220 by 330mm.; (d) Quitclaim by Hugh Cradocke of Haverfordwest, Pembroke, "calceolarius" (shoemaker), son and heir of the late David Cradocke and his late wife Helen Murrowe, to Alban Stepneth of Prendergast, of all right over a messuage or half burgage in "le markett Streete" in Haverfordwest, 20 long lines, dated 8 December 1582, 210 by 310mm.; (e) Letters Patent of Elizabeth I, referring to a previous grant by letters patent (7 December 1579) to Alban Stepneth of the rectory and church of St. Martin, Haverfordwest and its possessions in Pembroke and Haverfordwest, formerly in the tenure of the late Thomas Catharne, and tithes for 21 years from 29 September 1579; and granting to Philip(?), Thomas and Dorothy Stepneth, sons and daughter of Alban Stepneth, the same rectory and church and possessions for their three lives in that order, for an annual rent of £5 and other payments specified; examined by Thomas Hanbury and signed by William Bromley, 44 long lines, dated 1 July 1595, 400 by 540mm:; (f) Deed to lend the uses of a fine from Edmond Harries of "Freistrope", Pembroke, and his wife Margaret, to Alban Stepneth of Prendergast, of a house or half burgage, formerly the house of Elizabeth Morrowe, widow, afterwards purchased by Alban Stepneth, in the "markett streete" in Haverfordwest, 26 long lines, dated 24 June 1601, 220 by 280mm.; (g) Transfer by Thomas Stepney of Sandyhaven, Pembroke, of a lease of the capital messuage and lands at St. Ishmaels, Pembroke, called Sandyhaven, at an annual rent, leased then to Stepney for his life and one subsequent year, to Richard Phillipps of Loveston, Pembroke, 52 long lines, dated 24 July 1666, 420 by 480mm.; all with cockling, small smudges and faded areas, overall in fair and presentable condition Provenance: 1. Most probably the archive of Alban Stepneth (also Stepney; d.1611), of Prendergast. His family came from Hertsfordshire and rose to financial prominence through profiting from the dissolution of St. Alban's Abbey, before he moved to Carmathenshire in 1561. He was closely associated with the bishop of St. Asaph and used this position to build a large property empire in West Wales and run for public office. He served as sheriff, member for parliament and lastly governor of the town of Haverfordwest during the Civil War, in which conflict he was one of the few Pembrokeshire noblemen who remained loyal to the king. In later life he was embroiled in scandal and brought repeatedly to court. He died in 1611, and his heirs remained influential in Welsh politics until the eighteenth century. His line went extinct in 1825, at which point these records presumably left the hands of his heirs.2. Schøyen Collection, London and Oslo, their MS 1907, acquired from the late Dr. Jeremy Griffiths (1955-1997), in July 1994. Text:Welsh manuscripts are of significant rarity on the market. The last sold in our rooms was a late sixteenth-century genealogical scroll showing the descent of the Watkins family of West Glamorgan (6 December 2017, lot 44, for December 2017, lot 44, for £3600 hammer to the National Library of Wales). 

A late 19th century ormolu mounted alabaster column with Ionic capital, on square base, 43" high

Y  A Victorian carved ivory zoomorphic hound's head sporting whistle, circa 1850,modelled as a greyhound head with ebony or lignum insert, yellow-metal chain bearing marks 9C, verso capital 'A' chain, 5.5cm in length; and a Victorian carved bone whistle modelled as the cascabel and 1st reinforce of a cannon, the 2nd reinforce section sculted as the whistle mouth-piece, soft wood insert, 5.5cm in lengthProvenance: The greyhound with Rogers de RinCondition Report: Old hairline crack to the greyhound.Condition Report Disclaimer

Steve Ferguson (American, B. 1946) "North American B-25B Mitchell Airplane" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Commemorative Cover for the U.S. 29c Flag stamp issued August 19, 1994. That the B-25 Mitchell bomber was so effective should come as no surprise. For nearly 10,000 of these medium bombers were produced, making it the most common -- and most successful -- aircraft of its type during World War II. In fact, it was one of these dependable airplanes that carried Lt. Col. Jimmy Doolittle over Tokyo for a surprise attack in April 1942. Though not designed to be launched from aircraft carriers, this plane and 15 others took off from the USS Hornet and flew 650 miles to bomb the Japanese capital. Never suspecting they could be attacked at home -- in fact, they had been told it was impossible -- the Japanese people were shocked by the bold American raid. However, it would be more than two years before American bombers again ventured over the land of the rising sun. Image Size: 16.5 x 14 in. Overall Size: 20 x 15 in. Unframed. (B13203)

Chinese Gov. - Reorganization Gold Loan of 1913 Coupons. Brown 20 5, German Bank Issue or French Indochina Issue. 42-43 Coupons. The following is courtesy of John M. Thomson in the Historic Foreign Bonds of China book. 1913 - 5 Reorganisation Gold Loan The Reorganisation Gold Loan of 1913 was for the capital sum of £25,000,000. The Loan was, "...authorized by Presidential Order of 22nd April 1913 officially communicated by the Wai Chiao Pu to the Ministers in Peking of Great Britain, Germany, France, Russia and Japan." The newly appointed President of the Republic of China, Yuan Shih Kai, initially approached Britain, France, Germany and United States of America seeking a substantial loan to assist the fledgling government of the Republic of China. Later this group was expanded to include Japan and Russia, but eventually the United States of America withdrew from participation, leaving five countries which agreed to assist the Chinese Government with financial aid. The principal financial institutions which participated in the loan arrangements were the Hongkong & Shanghai Banking Corporation, Deutsch-Asiatiche Bank, Banque de I'Indo-Chine and Russian Asiatic Bank. The Yokohama Specie Bank participated on behalf of Japan, but did not issue separate bonds, countersigned by the bank. Arrangements were made as to convertibility into Japanese Yen of the bearer bonds issued by the other four issuing banks. The banks all received 6% commission allocated to each bank together with bonds issued are detailed in the data tables below: Hongkong & Shanghai Banking Corporation £7,416,680 Deutsch-Asiatiche Bank £6,000,000 Banque de I'Indo-Chine £7,416,660 Russian Asiatic Bank £2,777,780 Russian Asiatic Bank (Belgium) £1,388,880 It should be noted that the original Russian issue bonds which were brown coloured, were subsequently withdrawn and exchanged for a series of green coloured bonds. The original brown coloured bonds, sometimes referred to as "Yellow Bonds" were annulled. Overall Size: 32.5 x 22 in. Framed behind glass.